Ramzine issue 13 - Doyle, Dead Label, HRH Reviews!

ROCK & METAL

ISSUE #13 WWW.RAMZINE.CO.UK

DEAD LABEL ARE PURE CHAOS!

PHAMLMUERSFES!T,,

HRHBLUES! HRH AOR

Contents Featured 08 Interview with Doyle

classic

07 Iron Maiden

INTroducing

04 Dead Label 12 Live: Dreamshade 13 Photos: HRH Blues 14 HRH AOR 16 Hammerfest

Reviews Chris Shiflett Inglorious He Is Legend Lakeshore Fleshdoll Death of Kings KXM The Freudian Session Miss Vincent The Dead Daisies Weirds Doublestone Voice Of Ruin Gravil From Eden To Exile Death Blooms Voyager Al Namrood Crimson Throne As Paradise Falls Moonbow Between the Buried and Me Employed To Serve

A

long comes lucky issue number 13. It always amazes me how far this zine has been able to go, we seem to have an ever-growing number of dedicated contributors and have no plans of slowing the pace anytime soon. In fact, I have some exciting news! We RAMzine will soon be launching our first ever Rock And Metal awards...

Along with the details of the awards will come the announcement of our partnership with Rock Pen for the first ever Rock Pen Conference, for current or aspiring rock writers. You read it hear first! But make sure you keep your eyes peeled online for more information. #WriteForRock So why is this issue so lucky? Well, we have expanded, the zine is bigger and covers more bands than ever before! We have been touring the various HRH events, chatting with a former Misfit, and re-visiting some old friends. The last time we spoke to Dead Label was at MetalDays in Slovenia last year. They have now been announced for the Dogtooth Stage at Download and we urge you to go watch them! #PureChaos -Victoria Purcell

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CONTRIBUTORS On The Cover: Doyle by Kanon madness photograhy.

Dead Label by Fiaz Farrelly.

Evil Scarecrow by Rob Billingham.

HRH Photos: Lisa Billingham & Rob Billingham.

Release Reviews: Paul H Birch, Mark Mcconville, Stuart Iversen, Andrew Dowling, Pagan Hel, Neale McGeever, Sam Savigny, Shaun Brown, Lauren Garlinge, Ash Crowson.

SAM SA VIGNY JOURNALIST HRH AOR Hammerfest

LUKE LOKI MILNE JOURNALIST RAMzine Classic: Iron Maiden Rock in Rio

NEALE MCGEEVER CONTRIBUTING EDITOR Interview with Doyle

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By Victoria Purcell

W

e have been following Irish metal band Dead Label since 2015, the year they played Bloodstock and got to play with Machine Head and Gojira! In 2016 they released their debut album Throne of Bones, at which point RAMzine commented saying “Could Dead Label be the breath of fresh air and the reboot the metal scene so desperately needs? Only time will tell!” In our eagerness and excitement for Download Festival, we caught up with drummer, Claire Percival, as she tells us Dead Label are all set to play the Dogtooth stage on Saturday 10th June.

You have been announced to play Download Festival! That’s very exciting! It’s not quite the sunshine and views of MetalDays where we spoke to you last, however, it’s DOWNLOAD! It’s legendary! What does playing the festival mean to you?

Playing Download is one of those lifetime dreams come true! We have always wanted to play at Download, it’s just such an amazing opportunity for any band!!! We are honoured to be given such an amazing chance.

We have been as fans, watched it on TV, and now we are playing!

It’s just amazing!

Do you have any fun past Download Fest Memories?

As a fan, lots! :) One year Dan went for a nap but kept his head outside and his tent so he could hear the bands, and woke

up with a very very burnt face!

The year I was there Metallica played the Black Album in full!

That was just such a wonderful experience for me. Machine Head played that year too, it was amazing!!! Black Sabbath also played, what a year that was!!! The line-up this year is incredible too!

urrecting bad guys that Judge Dredd shot. Since going back to the festival we realised Jesus is always there so maybe not random after all! :) Mastodon had their own dog backstage and he was the coolest, that was random!

Which bands will you be watching?

There are so many bands we want to see. Obviously, we have to watch System of a Down, they are just going to be incredible. Rob Zombie played the same year we did at Bloodstock and we have been itching to see him ever since so he is a must as well. Steel Panther for obvious reasons! Devin Townsend, Code Orange, Airbourne! There’s so many! NXT is there too, a must see! I really like wandering around and discovering bands too, so hopefully come home with a CD wishlist.

Do you have any other dates/ festival appearances this year?

What is the most random thing you’ve seen at a festival?

Yes, we do! We are also playing st Wildfire Festival in Scotland in June! Then we have some shows with Nervosa in July and we are returning to Agressive Music Festival in July! That’s in the Czech Republic and it is one of our favourites! :)

Where do we even begin with this! The first time we were at Bloodstock, we saw Jesus res-

We loved the new video for ‘PURE CHAOS’, the title fits your music very well. Where

was it filmed? Tell us about the subject matter….

We actually owe all the credit to Crooked Gentlemen, the video producers. They heard the song and came up with the killer idea of basing the video on the Jim Jones story of the cult leader who killed all his followers. It was so much fun to film!

Johnny the actor who played the leader is amazing, he stayed in character the whole day and kept all our family and friends (who played the followers) very entertained. It was amazing! Sue, the girl who escapes, she was unreal as well. She was so nice, then she would be called to her scene and BAM she was kicking his ass!!!

We are dying to know, have you got any plans yet for your follow-up to Throne of Bones?

Oh, we have loads of plans! Let’s just say we are well and truly into album three and will be debuting some songs at Download! You can give us your honest opinion after the show! :) See you at Download!

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ILNE

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alk aimlessly through any rock or metal music event in the world and you’re almost guaranteed to see dark t-shirts emblazoned with the skeletal visage of Eddie the Head; beloved mascot of one of Britain’s most iconic heavy metal giants. With an instantly recognisable sound and style that has barely flickered through decades of activity, Iron Maiden have grown to become one of the greatest household names in British heavy metal since their inception in 1975.

Now, Parlophone Records have announced the periodic release of vinyl reissues of Iron Maiden albums from 1990-2015, cut from the band’s 2015 high resolution remasters. To mark the occasion, Ramzine Classic remembers Iron Maiden’s unforgettable live album Rock In Rio, released over fifteen years ago on 21st March 2002.

M WORDS LUKE

Packed to the brim with 18 tracks weighing in at just under two hours of content, Rock In Rio stands as a hallmark achievement for the British six-piece and a must-have live music experience for any self-respecting heavy metal fanatic. From this reviewer’s personal perspective, it’s up there with Metallica’s 1999 release Symphony and Metallica as one of the best live albums of heavy metal history.

Marking the end of the Brave New World album tour, Rock In Rio was recorded during the third incarnation of the Brazilian festival of the same name.

Joining the likes of Guns ‘n’ Roses and Red Hot Chilli Peppers as one of the festival’s headline acts, Maiden stood onstage at Rio De Janeiro in front of the second largest crowd of their entire career. The performance was also filmed, edited and released in full on DVD, VHS and UMD. Opening the floodgates with a fanfare of atmosphere, Rock In Rio bleeds in with the roar of a 250,000-strong army of fans as Maiden launch into three tracks from their prevailing latest release Brave New World.

Classic songs like ‘2 Minutes To Midnight’, ‘The Trooper’ and the eponymous ‘Iron Maiden’ frame content from the band’s latest offering, including a fantastic rendition of ‘Ghost Of The Navigator’ and a thunderous foray into the album’s title track.

Perhaps one of the most exceptional tracks featured on Rock In Rio comes in the form of ‘Fear Of The Dark’, a track pulled from the 1992 album of the same name. From the ominous tranquillity of the opening melodies through to the blistering, high-octane choruses, the crowd can be heard singing in unison with the melodic hooks and lyrics. The sheer love and admiration is almost palpable during the seven minutes and thirty-eight seconds of the track, and there aren’t too many bands out there who can truly unite hundreds of thousands of people with such humility as Bruce Dickinson displays.

From start to finish, Iron Maiden relentlessly assault the ears with a punchy, energised and atmospheric backdrop of headbang-worthy heavy metal goodness, with Dickinson’s vocal performance laid on top, perhaps at its best and most electrifying. Seasoned fans may scoff at this remark, but for me Rock In Rio represents Iron Maiden standing triumphantly at peak performance, staring into the beckoning horizon of a post-millennial career that has continued to deliver some of the best heavy metal Great Britain has to offer.

Up the Irons!

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Kanon madness photograhy

BY Neale McGee ver

O

riginal Misfits guitarist, Doyle Wolfgang Von Frankenstein, not only made the New Jersey horror-punk band sound iconic, he certainly contributed to their look with his white face-paint, huge muscular frame, and signature hairstyle. Although he has been a big part of Misfits’ various incarnations over the years - most recently he has been working on his solo project - Doyle. It was also announced last month the legendary guitarist will be making his film debut in the remake of the cult horror classic Don’t Look In The Basement! (re-titled Death Ward 13) where Doyle will be playing the film’s villain - The Duke. We caught up with Doyle himself to talk about the new album, the Misfits reunion, the vegan lifestyle, and ‘becoming the monster’.

The first thing we should talk about is your starring role in upcoming horror flick ‘Death Ward 13’ - how did this come about?

My manager hooked it up for me, I haven’t even seen a script yet ... I’ve always wanted to play a monster.

Would you do another movie?

I’d like to. I don’t take any acting classes. I just want to get in there and be the monster!

Right now you are on tour across the US (with Doyle) after touring the

UK - would you like to come back soon?

Absolutely! It was great and touring is still fun, even though I’ve been doing it for years.

Now it feels like an everyday job, it’s something I do.

Any festivals planned this summer?

I’m really not sure.

Maybe next year.

We are going to finish this tour and get the record out and see where we are.

You are very passionate about the vegan lifestyle.

Is that hard to maintain on tour?

No, it’s not. I usually just go shopping, take stuff with me, and usually find any vegan restaurants in the area. People seem to think it’s some mythical unicorn shit.

How is the new album different from your first record as Doyle (Abominator)?

It’s called Doyle II: As We Die. Also, we have a new drummer called Brandon Pertzborn. You might know him from playing with [hardcore punk legends] Black Flag recently. He really brings something to the table, a great drummer, probably the best I’ve ever played with. We also have appearances by [Lamb of

played with those guys on separate occasions through the years so it wasn’t any different for me. But it was good that it was ‘normal’.

Like I said, this is my job.

Do you like to re-visit original Misfits material at your Doyle shows, or do you stay away?

We still do a lot of Misfits still because the venues ask for it...do I like doing it? It doesn’t matter to me. Once this record comes out we will have a lot more to chose from to fill the whole set-list.

Do you ever tire of the famous Misfits ‘fiend’ logo on t-shirts at your shows?

No. Not at all. Not sure why people always think that.

So what’s next for Doyle?

Go home for about a month.

Hit the road a bit more and see what happens next year...

So what can fans expect at a Doyle show?

God vocalist] Randy Blythe, [Arch Enemy vocalist] Alyssa White-Gulz, and some other guests too.

Yeah, there are a few collaborations on there, including your other half Alyssa White-Gulz. How did the collaborations come about?

There was one song that started with Michael Amott [Arch Enemy guitarist] trying to write a solo. He kept f**kin’ with it, and f**kin’ with it,

and I was trying to copy his style because I really liked it.

So he said ‘Why don’t I just play the solo on your record?’...With Randy all I had to do was call him and ask. I let him chose which song he wanted to do and we recorded it.

It’s been about a year since we found out about the original Misfits playing together again, how was it getting back together with Danzig and Jerry?

It was quite...normal. I’ve

To get fucking pummeled, man. And then go home and ask themselves ‘What the fuck just happened to me?!?’, hahaha…”

Just announced! Doyle Wolfgang Von Frankenstein continues his domination with the launching of Abominate The World Tour 2017 with Davey Suicide. Launching June 1st in Raleigh, NC, the tour will wind south into Florida and Louisiana, then into California before heading East to finish in Niagra Falls, NY.

skindred

by Lisa Billingham

M

aasters of Melodic Metal, Dreamshade recently ventured over shores for their debut UK shows. A short visit that saw them play six dates north of and including London were a mere tease of the band’s new album Vibrant.

There is such excitement when you have been following a band for a while, and finally get to hear those tracks played live. It was heart warming to hear the crowd sing the band’s album word for word. Venturing to tracks from their previous album The Gift of Life was a great move and proved that there are long-standing Dreamshade fans already present in the UK. Dreamshade successfully creates melodic metal that leaves you wanting more. However our favourite thing about Dreamshade is what they stand for, positivity and passion beams from them,

WORDS VICTORIA PURCELL LIVE PHOTOS SOPHIE COLVIN 12

and it’s clear to see that rubbed off on everyone in the room. “Never give up your dreams and never fear,” said lead vocalist Kevin Calì.

It sounds cliché to say but Dreamshade really are meant for a bigger stage. The Flapper in Birmingham just did not do their set-up justice. Although new to the UK, they are certainly not a new band, they have a level of professionalism that now needs to see them go to the next step. Let’s hope they have the opportunity to play some festivals next year!

Tracks that we recommend you check out on YouTube right now are ‘Dreamers Don’t Sleep’, ‘Photographs’ and ‘Where My Heart Belongs’. Check out our interview with Kevin Calì and Fernando “Fella” Di Cicco online now. #BeVibrant

PHOTOS ROB BILLINGHAM

Wishnone ash

gong Hawkwind

Hard Rock Hell AOR classic rock extravaganza WORDS SAM SAVIGNY PHOTOS LISA BILLINGHAM

H

ard Rock Hell AOR’s classic rock extravaganza didn’t disappoint anyone this year. With phenomenal headlining sets from The Quireboys, Michael Monroe, Lita Ford and Slaughter who made their triumphant return to the UK after a long 26 years. All three of these acts prove that they don’t live off legacy, and can easily outperform bands half their age. When you have back-catalogues so chock-full of cast-iron classics, it’s almost impossible not to put on a good show.

On the subject of younger bands, the festival’s second stage showcased some stunning new talent; best of all being the Welsh-born three piece, Häxan who absolutely stole the show with their thunderously powerful post-Zeppelin rock, and the most talented percussionist of the weekend. Dorset’s own Saints of Sin put in a sleazy glam rock masterclass that has the second stage bursting at the seams; entirely expected with choruses the size of continents. Voodoo Vegas’ ode to the Clown Prince of Gotham arrived with a cheeky grin worthy of the Joker himself, and not a single person at the second stage can deny how much fun it was.

calming break in amongst the excessive hairspray we’d all been privy to prior.

Sadly, there are a few bands who don’t quite get it right: Epic feel overwhelmed by the size of the show they are playing, and their vocalist is often strained in her delivery of sweeping melody. It says it all that the best part of their set is a cover of AC/DC’s ‘Highway to Hell’. They show promise but didn’t hit the mark this time, as can be said for Romeo’s Daughter.

Their guitar tone is paper thin and really struggles to cut into the mix, leaving the whole set feeling quite deflating. Lastly is the opening set of the festival; Last Great Dreamers. A severe lack of crowd interaction, a couple of off-key harmonies, and a generally lack-lustre start to the whole festival means that their poppunk tinged classic rock leaves a very faint impression.

There were of course plenty of “heritage” bands offering up exciting sets; Autograph and FM both get their fair share of sing-a-longs going, and the denim and leather antics of Vega epitomise what HRH AOR is all about; a sincere love of rock music, camaraderie and the chance to sink a few too many JD and Cokes between sets.

It’s not all straightforward glam and This year’s AOR proved the breadth of classic rock however; the grungy take on intrigue that can be found in the classic The Darkness offered up by Black Bullets and glam subgenres of rock and metal. makes them stick out like a sore thumb, While not every band knocked it out of and they proved the park, there were some divisive, though fantastic sets from estabA sincere love of rock ultimately, phenommusic, camaraderie and lished legends and some enally entertaining, very exciting glimpses of the chance to sink a few the future. while Daylight Robtoo many JD and Cokes. bery’s prog-infused power metal was a

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Hammerfest XI WORDS SAM SAVIGNY PHOTOS ROB BILLINGHAM

T

he ninth instalment of the legendary HRH United/ Hammerfest was a mesmeric experience. More than a few bands gracing the stages are in with a shout of being far higher up the bill at next year’s event, and if you were there, you will still be singing praise to anyone who will listen.

The stoner and desert rock portion of the festival proved the most seismically ear-shattering and featured a raucous midday set from Desert Storm. Their Mastodon meets Clutch via Kyuss grooves were enough to incite manic excitement amongst every attendee. Boss Kelloid are an absolute must-see, and gave a performance with no obvious frame of reference; angular stoner metal mixed with elements of doom, post-hardcore and prog rock.

Bonkers, brilliant fun. Unfortunately, with bands that good representing the genre, acts like Dusteroid pale in comparison.

Following the aforementioned bands, they lacked the punch needed to stand out.

Purely victims of circumstance in this instance.

best of the Norwegian scene of old. Much like Dusteroid, Kampfar feel uninspiring, purely because they lay in Gorgor’s wake.

Worth checking out, but misplaced on the bill.

Thrash metal proved its worth over the weekend with standout shows coming from Virus and Armored Saint, both of whom prove that thrash can exist in a modern setting, and doesn’t need to solely rely on Big 4 worship – especially in Saint’s case: John Bush proves he’s not just ‘the other singer from Anthrax’, but a bone fide legend.

For fans of all things wacky and folk inspired, Evil Scarecrow’s DIY Maiden-esque stage set up and endless charisma was enough to convince even the most jaded of cynics of their worth, while Hammerfall employed their soaring melodies and songs soaked in honour to joyous effect. It wasn’t all stellar of course; Skyclad feel like a band formed to serve the excellence of their violinist, and Lagerstein clearly love Alestorm a bit too much. Speaking of which….

The final day’s headliners, Alestorm are the Black metal had reasonable innings this epitome of a Marmite band. Though they year: The first corpse-paint of the weekend are clearly having a lot of fun, the perforcame courtesy of Old Corpse Road, a band mance is rather sloppy and lacks discernible boasting three very talented vocalists. The wit in its comedy when compared to Evil only downside to their performance was Scarecrow. an insistence on Shakespearean soliloquies to introduce most of their songs, and comFinally, the highlight of the festival, which bined with the Behemoth meets Errol Flynn will come as no surprise; Napalm Death. look, it all felt a bit cartoony. Cirith Gorgor Utterly majestic, fiercely intelligent virtuhowever had no such osity all held together by Mark trouble, offering up ‘Barney’ Greenway’s socio-politHordes of metal fans a healthy dose of ical nous and humanitarianism. harrowing, disgusting, scuttling left and right If you were lucky enough to be nihilistic black metal there, it was a life-changing and every-which way with expert proficien- that Dr. Hell demands. experience. cy that harks to the

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REVIEWS

Chris Shiflett West Coast Town SideOneDummy Records Review by Stuart Iversen Despite country music’s poor reputation in the UK, it has more in common with rock and roll than we would like to think. They both live off the idea of the outlaw, and you can’t pretend Johnny

Inglorious II Frontiers Music s.r.l.

Review by Paul H Birch From the opening ‘I Don’t Need Your Loving’ being a rewrite of David Coverdale early solo track ‘Keep On Giving Me Love’ to the rubber-banded riff and coy vocal asides of ‘I Got A Feeling’ sounding as if they’d be at home on an old Gillan record, Inglorious continue to wear their classic rock ambitions across their hairy chests. Albeit that Nathan Jones’ voice sounds more like a Bermuda-shirted Graham Bonnett with an added helium-high

Cash wouldn’t have been at home in our world.

So, it shouldn’t be that surprising to see the Foo Fighters’ lead guitarist Chris Shiflett trade in his leather jacket for a Stetson. Having dived into country before, he’s back with West Coast Town, ten tracks of country from a Californian punk.

A fact that adds a distinctive twang to this album. The title track is brimming with the nostalgia that country relishes,

but rather than being down the ranch they walk beside the beach. It’s catchy, and it’s fun, and you’ll want to step into the life Shiflett describes.

Not that he completely avoids country cliché with ‘I’m Still Drunk’ doing what it says on the tin and ‘The Girl’s Already Gone’ luxuriating in its melancholy. Like most country music, these tracks rely on the musician’s ability to tell a story, and Shiflett can do that.

You want to listen to him narrate

his life through music, and that’s half the battle.

If you are a rock and roll obsessive, then West Coast Town wasn’t written for you. Shiflett brings his undeniable guitar chops to proceedings, but it’s still a country album, steel guitars and all. If, however, you do dabble in a bit of Cash and Haggard then you’ll enjoy this. It’s country but inspired by our world and bridges that gap nicely. A classic?

No, but it’s a lot of fun.

lead guitarist Andreas Eriksson spins out a melody he genuinely plays something worth listening to.

‘Making Me Pay’ is strident and sensual, a guitar lick teases throughout ‘High Class Woman’ even as it shifts between

its heavy and lighter moments, while ‘Black Magic’ is bombastically stirring bluesy hard rock with – dare we say it – a touch of cabaret theatricals thrown in for good measure. Inglorious II isn’t quite what I was hoping for but it sure ain’t bad!

pitch on this Round II for the band.

Less wide-ranging in tone and textures, more focussed on capturing an individual aural identity to mainline them towards success, Kevin Shirley sits in the producer’s chair and I’ll place blame, as I see it, there for they rarely stray too far from the influence of Deep Purple’s family tree. In places, intriguing melodies are given short measure in favour of click track riffage but there’s also often a solid wallop of sound from the rhythm section that bodes well for certain songs when played live and allowed to breathe more freely. Likewise while as economical with his soloing as on their debut when

‘Hellter Skelter’.

The Freudian Session Generation TV Self Release Review by Stuart Iversen Sounding like a rawer version of the Wildhearts, TFS combine punk rock with harsh metallic riffs.

It’s a winning formula, but Generation TV could learn the art of brevity.

With ‘Superhero’ and the title track both venturing over five minutes, you end up pining for the two-minute punk songs that are buried in among the excess. It’s a solid release, but a decent editor would make all the difference. like. Get this in your life!

Weirds Swarm Culture Alcopop Records Review by Pagan Hel Despite playing outside the Tall Boys Beer Market in Thornton’s Shopping Arcade at 10.30pm on a Saturday night everything seems normal (ish).

Although the music is exceptional, holding that deep heavy swipe of psyche stirring something irresistible deep within your soul defines a swarm in the world around us, painting vivid pictures of light at the end of the tunnel but not before crawling through it on your hands and knees.

Miss Vincent Somewhere Else Uncle M Review by Mark Mcconville Southampton punks Miss Vincent throw more infectious and raw songs into the mix and take a shot at the darkness.

Their sound is reminiscent of a party fuelled on backstories and cold beers, and their dreams ache to breathe. The new EP Somewhere Else is another compelling venture, with guitars and lyrical wonderment in songs such as ‘Cold Hands’ and ‘Lost And Forgotten’. It’s a triumphant blast.

Doublestone

Gravil

Death Blooms

Devils Own

No More Forgiveness

Death Blooms

Ripple Music Review by Pagan Hel Copenhagen like most cities has a good variation of genres the only difference is that in ‘hygge’ land the people are a lot more passionate about their music and Doublestone know how to splurge a groove. There is something mesmerising about stoner rock, it delves deep into the psyche and goes on a little exploratory adventure pushing all the right buttons, and when sung in its mother tongue (Danish) it’s even better.

Self Release Review by Andrew Dowling London melodic death metallers Gravil are taking inspiration from Children of Bodom, Pantera, At the Gates to name a few, however, Gravil certainly bring their own personality to their music. No More Forgiveness is the band’s newest release and follow-up to their debut album.

The opening track ‘Detonate’ and sets the album off in explosive style.

Delivering an opening laced with technical fast paced riffing and lots of atmosphere. ‘I Am The Blood’ keeps up the pace with lots of hard hitting guitar riff, overlaid with a great mix of clean and screamed vocals.

This track appears to be perfectly suited for bringing down the house at a live show. ‘Plagues, Thieves and Murderers’ has a massive soundscape quickly followed by ‘Choke in Silence’ which reminds me slightly of Decapitated’s Blood Mantra with a more grooving feel. Fans of Warhammer 40K should have a closer listen to the lyrics of ‘Locate the Traitor’. Yes, eternal war is very metal.

‘Fractured Divide’ features dual vocals from Theresa Smith of Metaprism, whose vocals compliment frontman, Grant Stacey’s beautifully, showing a more melodic side to the band.

No More Forgiveness is available on the 5th May from Amazon and iTunes.

The band also have live dates coming up in the next few months.

Self Release Review by Pagan Hel You can’t fault the way the band have pulled this four track EP together and produced an absolute monster. The large slices of melodic metal literally wrap themselves around the audial and crush with uncompromising ferocity it beggar’s belief.

‘Hate Die’ holds some pretty impressive vocals just as ‘Last Ones’ they are infallible – this nu-metal is just awe-inspiring and full of fuelled aggression and yet the melodies demand favourable essences and draw you into their compelling and excitable rhythms.

On ‘I’m Dead’ I start to think it’s strange how I latch on to all the bands who sing about death. Well, I am not a metalhead for nothing and with this calibre of music it really deserves to be shouted from the rooftops and beyond. It’s emotional exploits simply attack and won’t take no for an answer.

‘Sick’ the final track on this magnificent EP doesn’t let the side down, in fact, it pulverises with intent to violate all the senses so you had better beware.

Band’s like this are few and far between when it comes down to it. I have seen a couple in Liverpool Renegade State and The Torn Prince, however, Death Blooms which incidentally are also from Liverpool have that same torrential bite and no doubt will make a mark for themselves on the scene.

THE DEAD DAISIES Live & Louder Spitfire Music / SPV Review by Neale McGeever A super-group made of some of the greatest live hard rock bands of all time, should by logic be brilliant live. With a resume boasting bands like Motley Crue, Whitesnake, GNR, and many more - Dead Daisies do not disappoint.The Australian-American band have plenty of original material in their arsenal to fill a great setlist as well as cover former ground.

This can be seen in their stellar hit ‘Something I Said’ as well as their hard rock cover of The Beatles’

results.

Voice of Ruin Purge & Purify Tenacity Music Review by Pagan Hel From the off this will really captivate you on every level. The sheer musicianship is jaw-some.

Demanding and bold it carves lumps out of your flesh and devours it like fresh meat from a butcher’s shop. Taunting and teasing it imposes its worst nightmare into your most vivid dreams and makes them a reality.

The music represents the band with a very impressive energy and woven into its core are damming

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Following the success of our debut album, Take The Pill, we are heading back to the studio to record our second full-length album! We can’t wait to showcase the tracks we have written and subsequently shortlisted!

Even more exciting still is the huge variety of exclusive products, signed memorabilia and one-off experiences we will be able to offer you through Pledge Music. You will also be ensuring we can get this album on its feet and most importantly – into your sweaty palms!

We would be thrilled if you could take a look through what we have on offer, pick your poison and then tell all of your friends and family how excited you are to be getting hold of THEIA’s second album…. happy pledging!

www.pledgemusic.com/projects/theia

songs which clean up the progressive metal outlet.

Their sound is impactful and far from hollow.

Voyager

scene and swipes with gnarled cold fingers. Its appetite is blood-thirsty and spiked with an attitude that ignites its fierce landscape and leaves a trail of destruction in its wake.

The turbulence mixed with the eerie atmospheric lures are highly intriguing making this a very interesting EP.

Ghost Mile Self Release Review by Mark Mcconville By powering through with expert riffs and melody, Australian progressive metal band Voyager stand amidst the roar with new album Ghost Mile. It’s a loud treat, louder than bombs, and miraculously there’s no cliched contributions.

That says it all, as the genre they live in, usually has one or two acts who sound exactly the same or dress up their music in generic noises.

Voyager try their hardest to strip away from the norm, and they do so here, they succeed with bashfulness and harshness coating the songs they’ve wholeheartedly created. Ghost Mile is their record of substance and unnerving vocal work, and it’s not confined to a one-dimensional formula, as there’s rock charms, layered with metal influences.

And the lyrics do well to convey feelings and grievances. There is rage evident in the words, shot in the dark from a mouth and mind deeply intelligent. This showcases a wealth of experience and knack for song craft, which is highly important if you want to make it in the music industry. And Ghost Mile is faster than a bullet hitting a glass pane, it strikes heat into the heart and excitement into the psyche. From the cathartic ‘Misery Is Only Company’ to the rushing, blazing, guitar driven ‘Disconnected’, the album shocks the system.

Voyager do what many bands don’t, they serve up lyrical sturdiness and

Their decision to sing in their native tongue means that most listeners will not understand the lyrical content, but the delivery behind every note, and every vocal line is more than enough for even a casual listener to emotionally connect. It’s not quite as well formed as their contemporaries – see Rotting Christ – but certainly has plenty to enjoy and scream along to.

Crimson Throne Crimson Throne Apocalyptic Witchcraft Review by Pagan Hel We all love a good mystery, don’t we? Well here is a special black metal mystery that reveals nothing of who plays or sings what. But to be honest you don’t need to know, the mere fact the music is what you came for and so that is what you get.

‘Forgotten Nobility’ is a gut-wrenching track that ticks all the boxes for its black metal extremities.

It hides nothing in its dark shadows and bares its teeth with ultra-rabidity and grim torment. The slower ambient guise is driven with meandering riffs, and rather doom laden with increasingly menacing and devious intensity.

‘Praetorian March’ does not digress from its black metal roots which stay firmly planted in the band’s mysterious world.

Inflamed with predatory riffs and swift drum beats by persons unnamed this is one exploit that should be deemed unsettling, if only for its disturbing vocals.

‘Fog of War’ begins with poignant and creative textures that spread like fog over an area – hiding its beguiling mysteries under the surface. There is an air of unpredictability and angst as the track furthers – its atmospheric flirtation broods and festers like an open wound.

‘Shadows of Ruin’ however, boldly and dramatically steams onto the

ALNAMROOD ENKAR Apocalyptic Witchcraft Review by Sam Savigny There’s a rhetoric in heavy music that is cynically used to promote an insincere selling point: Passion. Every fan of a fringe genre feels this intense connection to artists who work purely for the love of it, and there are few bands that can boast that they work purely based on dedication more than Al Namrood.

Al Namrood is Arabic for ‘Nimrod’, a Babylonian King, and stands as a point of defiance against the institutional religion of their home; Saudi Arabia. The band is entirely anonymous; a decision forced upon them as creating the music they do, and the topics they tackle within, are perceived as illegal and could lead to death by stoning.

Knowing this, the integrity of their musical output cannot be denied.

In much the same way that the Norwegian black metal scene carries a chilling overtone, there is a fierce heat brought by the work of the musicians reflecting the environment in which they have grown. It’s a gruelling harrowing experience, but ultimately glorious experience.

Lakeshore 41 Self Release Review by Pagan Hel ‘Heart’ isn’t like anything I have heard before.

It definitely embarks into another realm as the power builds to a feverish pitch and quite startling. It makes your reflexes knot into tight spasms and I honestly don’t think they can’t really be pigeon-holed.

The vocals sound youngish while there are harsh resonating vocals to accompany alongside so I suppose you could say they could be metal core – but, you decide!

From Eden To Exile Modern Disdain Attic Records / PHD Review by Mark Mcconville There’s blistering roars

evident in the music of Eden To Exile, a sound of a band angry at the world and its flaws. The act, choose to bare their souls to the metal allegiance too, committing themselves to the core of its legendary status.

But does the band have enough in their power to propel to the next level, do they have plenty of fire in their bellies? Well, yes they do.

The sound of the acts new record Modern Disdain doesn’t hold back, it isn’t a collection of lullabies either, it is in fact a compendium of raw and powerful statements.

These statements have been written with searing intent, words of integrity placed together with flair and imagination, even if they aren’t heard clearly throughout the album.

And yes, we’re in for an electrifying experience.

As these songs aren’t for the faint hearted, they’re for the hardened metal-head, who power their way through adversity

from eden to exile and scrutiny.

But beyond that, the breakneck guitar lines intertwine well with those blood curdling screams, they deal a great weight of authority, precision and intricacy. This shows the band are at one with their instruments and music as a whole. From the velocity and guitar trickery of Volatile, to the driven, monster of What You’ve Done, they’re in it for the ride.

Modern Disdain isn’t for everyone. It takes a metal purist to love a sound so potent. But if you’re accustomed to it, then delve in proudly.

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REVIEWS

As Paradise Falls

Moonbow

Digital Ritual

War Bear

Eclipse Records Review by Pagan Hel This takes a little while to heat up, what do they say “A watch pot never boils!”

However, once it reaches its boiling point there is no stopping it and the massive gouges it leaves in its wake unveil a hidden side to As Paradise falls. More along the lines of death metal with melody but this is not where the band stops they have two sides both equally mixed and unusual.

Ripple Music Review by Ash Crowson Kicking off with a southern, stoner fuelled fire in the belly, War Bear is a beast of an album that plays like the perfect soundtrack to the rock and roll life. Moonbow seriously deliver the goods from start to end and leave you begging for more, awesome, non-stop rock that’ll forever have you reaching to grab a cold one, and partying until the sun comes up.

EMPLOYED TO SERVE

Between the Buried and Me

The Warmth of a Dying Sun Holy Roar Records Review by Shaun Brown With riffs that could level small cities and an aura of unadulterated venom pulsing through their youthful veins, southern mosh-merchants Employed to Serve have built on their roaring debut record with a more expansive yet equally destructive second effort.

‘Platform 89’ is like a brick to the teeth; ‘I Spend My Days’ a lumbering behemoth of cataclysmic doom. Technically brilliant and creatively irresistible, this rabble are both the present and future of the British hardcore scene.

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Coma Ecliptic: Live Metal Blade Records Review by Lauren Garlinge Prog legends Between The Buried And Me are back with a live version of Coma Ecliptic. For those familiar with the studio album, there aren’t in for any surprises on the live release. However, since this is a live record you want to feel like you’re part of the show and it doesn’t feel that way. The recording drowns out the crowd so much it could be a studio release and as a result, it’s a disappointment.

He Is Legend few Spinefarm Records Review by Pagan Hel He is Legend from Wilmington NC go under the genre of rock. Schuylar Croom (Vocals) said that their fifth album few is dedicated to the people who supported them through everything saying; “I was inspired by the words of Helena Blavatsky. She’s basically the godmother of the occult, and she dedicated one of her books to the few.

Basically, that means the few that follow the way. I thought it was very fitting for what we do. We left it up to them.” And by leaving it ‘up to them’ didn’t mean choosing the tracks it meant funding the project on crowdfunding campaign Indiegogo and as they raised 124% in December 2015 they retreated to a remote cabin in Carrboro, NC and that is where their inspiration flowed.

The bands sounds are as inspiring as it gets, despite being a little mainstream it still has a kick like a mule and pulsates like a fast beating heart.

The name of the band “He is Legend!” throws a spanner in the works as to who He is, I think it may mean Satan judging by the sentence involving Helen Blavatsky, but who knows – as this music isn’t dark in the sense of doom, so that’s something else to think about!

Fleshdoll

movement.

Constantly impressing, you hear something great on every track and like a waiting time bomb they’re ready to explode be it with creative guitar and hardy bass licks rather than shrapnel, however, the effect is the same and is one of sheer devastation.

Nobody can really predict what Fleshdoll

Doug Pinnick on bass/ vocal duty and George Lynch on guitars, they seemed to do what would most probably couldn’t achieve, and they did it extremely well. Fast forward three or so years and they have managed to get themselves the time together to attempt to do it all again. Despite their busy schedule and lives with other

Hearts of Darkness Great Dane Records Review by Pagan Hel The rabid tones of Fleshdoll are indeed a missing link to a more brutal world and one that cannot be tamed, no matter how hard you try – it will not relinquish its powerful reign on the ears and so controls with boasting passion and inflamed ferocity. Nobody said this was going to be an easy ride, it certainly isn’t smooth, nobody expected it to be. Great Dane Records once again delivers another fiendish release.

Having reviewed Fleshdoll some time back (Feeding the Pigs in 2014 and Blood Red District in 2016) and giving them a perfect 10 scores, I already knew that this will receive the same accolade as its previous albums. Fleshdoll are one unmerciful bunch of muthafuckers who know just what buttons to press to get a full on reaction.

They can be extremely brutal and yet they can magically twist things on their head and send out softer tracks when the mood takes them which isn’t very often, however, I will stick to the extreme end of the scale if you don’t mind because I like to scratch my itches and Fleshdoll do that well without the back scratcher.

The boisterous and never ending tenacious beats burn into the landscape like a molten lava flow showing that Fleshdoll know how to cut their teeth as well as carve a path to success in one

kxm are going to do next, it is hard to imagine what dirty rhythms they will come out with next and what effect it will have, although, no doubt it will be a good one.

This is a very intriguing album full of twists and turns at each corner making it a respectable and pleasurable listen.

Fleshdoll are hellacious and unpredictable. They won’t stop until every stone is unturned and their boundaries pushed to the extreme.

KXM Scatterbrain Holy Roar Records Review by Ash Crowson KXM are a name that should hopefully ring a bell, a few years back they came about, featuring Ray Luzier on drums,

bands, the three once again found themselves gathering in the studio to try and achieve the almost impossible. One rule, and strictly observed and made sure it is stuck to by Ray Luzier: No pre-determined ideas or outside studio thought.

Everything recorded is solely the product of their time and environment in that studio. Where some might falter, these three have already proved they do not. Scatterbrain is the test to see if they are more than a one-trick pony.

If their debut was considered to be eclectic in style, then Scatterbrain is well above and beyond the word. If you could list every genre of music and blindly throw darts to see what you hit, chances are you’ll hit a style that it involved in the creation of this album, absolutely everything is touched upon, and all done justice too, it’s like being able to go into a sweet shop and have a taste of every single sweet they have.

Opening track ‘Scatterbrain’ might sound sporadic and a bit much, but it doesn’t just work, it works damn well and

you soon find yourself understanding it, just as you expect it to blow with a ridiculous solo, it turns down the heat to a simmer and plays with feel instead of sheer speed, ‘Breakout’ follows on with a lighter touch and you can tell on the drums that it very much sounds like that guy from Korn, George Lynch sounds typically Lynch-like, as does Doug Pinnick, all sounding familiar yet completely different all at the same time.

‘Calypso’ really takes the leap at the style change up, superb musicianship from all taking control and not overdoing it, and it leads on just like that for the rest of the album. Each song is worthy of its own release, ‘Noises In The Sky’, ‘Panic Attack’, ‘True Deceivers’, it all just goes on with some genius input from all parties.

If you like your music with a difference and a bit of variety, Scatterbrain will have it, if music could be a firework show, then this would be one hell of a display.

Death of Kings Kneel Before None Boris Records Review by Ash Crowson Thrash metal, little needs to be said, fast, aggressive, unrelenting, and neck breaking, what isn’t to like? Many do it, and some do it well. Death of Kings happens to be one of those.

Kneel Before None is an album that is as fast and rampant as you could as for, 9 tracks that absolutely decimate in less

than 40 minutes. Monster riffs, soaring, soaring, raspy vocals, punishing drums, a sound of pure chaos that will have you grabbing for the volume button, some things just need to be listened to loud, preferably so your neighbours can listen too. Death of Kings have ticked every single box in that list, from the rapturous opener of ‘Shadow of the Reaper’, you are basking in 100% thrash heaven, with a vocal style that at times is reminiscent of Death Angel, it’s hard not to love them already. ‘Sojourn’ really concretes that thought in your mind with its addictive, written styling, but it’ll soon slap you in the face to think that’s all you’ll get as Regicidal brings in some death metal styled vocals to the fray, fitting it absolutely perfectly as the maelstrom of crashing cymbals and screaming guitars come at you from all sides.

‘Descent into Madness’ hits that Slayer approach with great success, which is a great warm up to ‘Hell Comes to Life’. Never laying off, the album just continues to punish, there’s no time to breathe as you are nailed to the back of your seat with the g-force of a fighter jet banking hard. The weaker willed might have to take a break from the album, I can only ask for more as they continue to deliver the goods with great bravado. Second to last track ‘Too Fast for Blood’ might seem more appetising being just 3 minutes long, but that doesn’t lay off the pace.

Smashing through faster than a bullet, it really takes on that Death Angel feel I felt earlier and it sets the album up nicely for the closer ‘Revel in Blasphemy’.

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